*• 


Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/warpaintingsdrawOOgrea_O 


FIELD-MARSHAL  SIR  DOUGLAS  IIAIG, 
K.T.,  G.C.R.,  G.C.V.O..  K.C.I.E.,  A.D.C. 
BY  SIR  WILLIAM  ORPEN 


WAR 

Paintings  ©’Drawings 

BY 

BRITISH  ARTISTS 


EXHIBITED  UNDER 

THE  AUSPICES  OF  THE  MINISTRY  OF  INFORMATION 

LONDON 


Foreword  by 

RAYMOND  WYER 

Introduction  by 

CHRISTIAN  BRINTON 


U.  S.  A. 


1919 


THE  TOUR  OP  THE  BRITISH  GOVERNMENT  EXHIBITION  OF  WAR 


PAINTINGS  AND  DRAWINGS  IN  THE  UNITED  STATES  OF  AMERICA 
HAS  BEEN  ARRANGED  THROUGH  THE  CO-OPERATION  OF  THE 
WORCESTER  ART  MUSEUM,  RAYMOND  WYER,  DIRECTOR 


THE  BRITISH  GOVERNMENT  EXHIBITION  OF  WAR  PAINTINGS  AND 
DRAWINGS  IS  SHOWN  IN  THE  UNITED  STATES  OF  AMERICA  BY 
THE  BRITISH  BUREAU  OF  INFORMATION,  WALTER  MONROE  GRANT, 
MANAGER,  DEPARTMENT  OF  EXHIBITIONS 


COPYRIGHT,  1919,  BY  CHRISTIAN  BRINTON 
FIRST  IMPRESSION,  FIVE  THOUSAND  COPIES 


REDFIELD-KENDRICK-ODELL  COMPANY,  INC 


NEW  YORK 


WINDSOR  CASTLE. 


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Facsimile  letter  presented  to  each  officer  and  man  of  the  American  Army 

on  disembarcation 


<1 


V 


[7] 


SIR  WILLIAM  ORPEN 
MARSHAL  FOCH 


FOREWORD 


HE  Trustees  of  the  Worcester  Art  Museum  in 


assuming  charge  of  the  British  Government  Exhi- 
bition of  paintings  and  drawings  in  this  country  were 
actuated  by  two  compelling  reasons.  In  the  first 
place,  it  represents  one  of  the  strongest  contemporary 
exhibitions  that  has  ever  crossed  the  sea,  including  as  it 
does  works  by  the  foremost  artists  of  Great  Britain. 
During  the  last  half  century  Great  Britain  has  been 
fortunate  in  possessing  a number  of  artists  of  originality 
and  power,  and  indeed  there  has  been  a healthy  and  vital 
significance  in  much  recent  Anglo-Saxon  art  on  both 
sides  of  the  Atlantic.  Furthermore,  in  the  difficult 
days  to  follow  we  cannot  too  often  emphasize  the  ideals 
and  principles  of  Anglo-Saxon  origin. 

In  the  second  place,  this  is  not  a war  exhibition  in 
the  ordinary  acceptance  of  the  term,  inasmuch  as  the 
selected  artists,  though  distinctly  individualistic  in  their 
attitude,  have  made  no  sacrifices  to  their  art  because 
trammelled  by  a given  theme.  Despite  the  fact  that  war 
was  the  ordered  subject  of  their  canvases,  they  trusted 
to  the  assertiveness  of  the  conditions  to  imprint  upon 
their  art  the  appropriate  direction  and  spirit.  And  instead 
of  narrowing  their  vision,  it  has  developed  a still  wider 
range,  a broader  technique,  a still  more  profound  knowl- 
edge of  essentials,  upon  which  their  art  has  emerged 
superior  to  mere  incidents  of  conflict,  thus  doing  not  a 
little  toward  bequeathing  to  us  both  a new  religion  and 
a new  philosophy. 

War  pictures  in  the  past  have  been  a peculiar  type 
of  record  subjected  to  the  skill  of  a few  highly  specialized 


individual  artists  of  the  type  of  Meissonier  and  Detaille 
who  have  presented  the  world  with  panoramic  views 
depicting  titanic  struggles  between  opposing  regiments. 
It  is  only  to-day  that  a different  order  and  spirit  have 
entered  into  the  artist’s  task,  and  for  the  first  time  we 
witness  a great  nation  selecting  its  greatest  artists  to  visit 
the  battlefields  of  Europe  in  order  to  give  to  the  world 
pictorial  evidence  of  what  Great  Britain  has  achieved  in 
the  war.  Their  aim  has  not  been  to  extoll  a regiment  or 
give  prominence  to  a uniform,  but  rather  to  express  in 
indelible  language  the  spirit  of  a nation  in  warfare  where 
defeat  would  have  signified  extermination.  That  such 
men  as  Sir  John  Lavery,  Sir  William  Orpen,  Augustus 
John,  Muirhead  Bone,  G.  Spencer  Pryse,  George  Clausen, 
C.  R.  W.  Nevinson,  Paul  Nash,  James  McBey  and  others 
of  prominence  were  entrusted  with  the  task,  is  evidence 
of  the  high  importance  attached  by  the  Government  to 
an  enterprise  for  which  an  occasion  of  like  significance 
has  never  before  arisen. 

Not  only  have  these  artists  as  a unit  maintained  their 
usual  level,  but  in  many  instances  they  have  set  a new 
standard  of  excellence.  As  an  example  may  be  cited  Sir 
William  Orpen  who  has  never  executed  a finer  set  of 
portraits  than  his  military  types  represented  in  this  exhi- 
bition. It  is  a question,  in  fact,  whether  he  has  ever 
heretofore  painted  any  portraits  of  equal  power  and 
trenchancy. 

Of  great  significance  to  artists  and  laymen  of  all 
countries  who  are  interested  in  the  development  of  a 
national  art,  is  the  fact  that  out  of  an  issue  so  at  variance 
with  art  as  war,  governmental  recognition  has  been 
accorded  to  the  artists  in  the  knowledge  that  their 
co-operation  would  be  an  educational  and  inspirational 


factor,  and  therefore  of  far-reaching  benefit  to  all 
classes.  It  is  perhaps  the  greatest  tribute  that  has  been 
paid  to  art  in  modern  times.  And  there  has  been  more 
than  official  recognition  of  art  — perspicuity  and  breadth 
of  judgment  have  been  developed  in  the  selection  of 
artists,  presaging  much  for  the  future  of  Great  Britain. 
This  broad  policy  is  an  indication  of  a new  tradition 
that  bids  fair  to  permeate  all  departments  of  activity. 

We  naturally  expect  academic  consideration  and 
conservatism  to  control  art  when  authorized  by  a 
government,  but  England  has  shown  far-sightedness 
in  placing  the  situation  in  good  hands,  and  judging 
from  the  results  the  wisdom  of  her  selection  has 
been  justified.  The  broad  field  of  art  expression  has 
been  surveyed  and  choice  made  without  prejudice. 
Artists  of  all  schools  have  been  admitted,  yet  the  various 
expressions  include  nothing  that  is  mediocre;  every  point 
of  view  is  distinguished,  and  each  man  vital  in  his  own 
field;  from  the  artist  who  paints  the  conventional 
composition  in  a sensitive  and  suggestive  way,  the 
one  who  treats  objectively,  but  with  more  virility,  an 
incident  in  or  a section  of  some  military  operation,  to  the 
ultra- modernist  who  expresses  himself  powerfully  in 
volume  and  abstractions,  ignoring  almost  entirely  the 
more  obvious  indications  of  warfare.  Especially  in  con- 
nexion with  this  last  attitude  it  may  be  confidently 
asserted  that  the  modern  desire  to  probe  into  essentials, 
the  why  and  the  wherefore,  the  spiritual  conditions,  in 
fact,  rather  than  objective  truths,  has  rendered  it  possible 
to  record  the  war  in  terms  of  art  only  where  significance 
is  paramount.  War  seems  indeed  to  have  strengthened 
and  justified,  rather  than  obliterated,  the  typically 
modernistic  point  of  view  toward  artistic  representation. 


[ill 


In  presenting  this  exhibition  to  the  American  public 
the  Worcester  Art  Museum  further  believes  that  its  im- 
portance rises  chiefly  from  the  fact  that  it  is  an  aesthetic 
and  pictorial  record  of  the  stupendous  part  Britain  has 
played  in  the  War  in  the  cause  of  democratic  civilization. 
England  had  been  loath  to  believe  that  those  she  had 
countenanced  unconditionally  and  allowed  to  live  on 
equal  footing  with  her  own  citizens,  even  to  the  extent 
of  holding  important  government  office — those  she  had 
from  the  highest  to  the  lowest  treated  so  hospitably — 
were  in  fact  planning  her  destruction  and  indeed  the 
downfall  of  all  European  civilization  and  liberty.  When 
the  shock  came  and  she  realized  her  faith  had  been  too 
great,  all  unprepared  she  opposed  an  enemy  whose  very 
hate  was  organized. 

These  pictures  are  symbols  of  England’s  performance 
on  land  and  sea,  of  the  significance  of  her  navy,  an 
instrument  which,  owing  to  her  geographical  situation, 
is  essential  to  her  daily  existence.  The  British  merchant 
service  has  been  the  natural  development  of  a nation 
dependent  upon  its  colonies  and  other  lands  for  food. 
The  navy  as  its  sole  protection  has  grown  with  it.  It 
has  always  been  at  the  service  of  the  world  in  peace  and 
war,  and  never  in  a more  vital  sense  than  during  the  last 
four  years,  as  all  who  shared  in  the  brilliant  contribution 
to  victory  rendered  by  the  United  States  have  so  gener- 
ously acclaimed.  The  exhibition  is  also  a symbol  of  the 
two  great  Anglo-Saxon  democracies,  standing  shoulder 
to  shoulder  in  the  ever  momentous  and  historical  struggle 
for  freedom. 

Everyone  in  England,  from  the  King  downwards,  is 
grateful  for  the  wholehearted  way  in  which  the  United 
States  entered  the  war,  and  for  the  effective  part  she 


played  therein.  This  alliance  between  the  two  Anglo- 
Saxon  countries  is  significant,  possibly  the  most  signifi- 
cant episode  in  the  history  of  the  war,  perhaps  indeed 
of  the  world.  It  can  become  so  without  question  if  both 
countries  make  the  most  of  their  opportunities  and  bring 
into  line  those  prejudiced  and  irresponsible  individuals 
who  place  their  erroneous  conceptions  and  personal 
ambitions  above  the  interests  of  their  country. 

It  has  been  felt  by  the  Trustees  that  a catalogue 
of  transient  character  would  be  an  inadequate  tribute 
to  so  unusual  an  exhibition.  It  has  accordingly  been 
decided  to  issue  a book  that  shall  be  a worthy  and  lasting 
record,  to  which  end  Dr.  Brinton’s  scholarly  introduc- 
tion and  able  co-operation  admirably  contribute.  A debt 
of  gratitude  is  due  to  him  and  all  others  who,  in  enthusi- 
astic sympathy  with  the  aims  and  ideals  of  the  exhi- 
bition, without  thought  of  remuneration,  and  in 
unstinted  measure,  have  given  their  time  and  experience 
in  aid  of  the  enterprise. 

Raymond  Wyer 


Director,  Worcester  Art  Museum 


[15] 


SIR  WILLIAM  ORPEN 
A GRENADIER  GUARDSMAN 


INTRODUCTION 

BY 

CHRISTIAN  BRINTON 

WHILE  it  is  matter  of  interest  that  Michelangelo 
reconstructed  the  defences  of  Florence,  and  filled 
the  post  of  General  and  Inspector  of  Fortifications, 
and  Leonardo  designed  engines  of  destruction  and 
was  a pioneer  in  the  province  of  aeronautics,  their 
contribution  to  the  cause  of  war  was  made  as  men  of 
creative  genius  and  not,  primarily,  in  the  capacity 
of  artists.  It  has  remained  for  the  present  generation 
of  militarists  to  utilize  the  artist  as  such,  and  one  of  the 
significant  points  brought  out  by  the  current  struggle  is 
the  fact  that  artists  and  artistic  principles  are  capable 
of  playing  a vital  part  in  the  conduct  of  war.  We  have 
discovered  during  these  latter  days  that,  in  order  to 
wage  war  in  all  its  refinements  and  nuances,  it  is 
necessary  for  us  to  go  to  school  to  nature,  co-operate 
with  nature,  and  invoke  the  aid  of  certain  elements, 
chromatic,  plastic,  and  rhythmic,  which  are  among 
nature’s  most  distinctive  and  inspiring  attributes. 

Field -grey  or  horizon -blue  uniform,  cunningly 
screened  roadway  or  gun  emplacement,  camouflaged 
ship,  the  contour  of  the  earth’s  surface,  and  the  use 
made  by  intrepid  birdman  of  the  conformation  of  cloud 
or  swift -changing  current  of  air,  are  but  a few  instances 
of  that  deeper  comprehension  of  the  eternal  facts  and 
forces  of  nature  which  the  present  crisis  has  developed. 
Never  before  has  art  been  called  upon  to  answer  a 
sterner  necessity,  and  never  has  art  responded  with  such 
fervour  and  efficiency. 


[17J 


While  there  is  scarcely  a nation  represented  in  the 
great  conflict  of  nations  that  did  not  in  some  manner 
employ  the  fundamentals  of  colour  concealment  and 
protective  mimicry,  it  must  not  be  assumed  that  this  is 
the  only  artistic  innovation  directly  traceable  to  the 
war.  Fresh  ground  has  been  broken  along  several 
different  lines  and  sundry  precedents  have  been  over- 
turned. The  most  significant  departure  would,  how- 
ever, seem  to  lie,  not  in  the  adaptation  of  artists  and  art 
formulae  to  the  rigorous  exigencies  of  war,  but  in  the 
recognition  accorded  the  artist  as  the  true  historian,  the 
veritable  interpeter,  of  war  in  all  its  visible  aspects. 
For  the  first  time  in  history  war  has  been  systematically 
and  comprehensively  pictured  by  officially  accredited 
artists  who  have  been  afforded  every  opportunity  to 
observe  and  to  perpetuate  their  particular  sensations 
and  impressions. 

We  have  long  admired  France  for  her  unfailing 
ability  to  correlate  art  and  life,  whether  in  time  of 
peace,  or  amid  the  stress  and  strain  of  battle.  We  are 
grateful  that  America  has  at  last  come  to  an  even 
grudging  realization  of  the  propriety  of  possessing  some 
sort  of  pictorial  record  of  her  activities,  material  and 
martial.  And  when  this  has  been  said,  it  remains  to 
acknowledge  the  fact  that  Britannia  has  acquitted 
herself  with  conspicuous  credit  in  the  same  field. 
Among  Anglo-Saxon  countries  at  least,  England  has 
been  the  first  to  enlist  the  services  of  the  artist,  and  the 
readiest  to  grant  him  that  measure  of  official  standing 
so  manifestly  his  due. 

The  immediate  vogue  and  utility  of  the  British 
recruiting  posters  designed  by  such  master  draughtsmen 
as  Mr.  Frank  Brangwyn  and  Mr.  G.  Spencer  Pryse 


afforded  concrete  proof  to  the  Government  of  the 
value  of  art  as  a means  of  furthering  the  cause  of  war. 
In  due  course  a number  of  men  of  the  highest  profes- 
sional position  including  Sir  John  Lavery,  Sir  William 
Orpen,  Mr.  George  Clausen,  Mr.  Augustus  John,  Mr. 
Muirhead  Bone,  Mr.  James  McBey,  and  others  were 
commissioned  to  devote  their  time  and  talents  to  war 
theme.  Those  physically  fit  went  to  the  Front,  while 
those  unable  to  withstand  the  rigours  of  active  service, 
remained  at  home  to  chronicle  the  not  less  essential 
story  of  Britain’s  industrial,  naval,  or  agricultural 
achievements.  One  and  all  they  worked  with  zest  and 
spirit,  and  press  and  public  responded  gallantly  to  their 
efforts.  The  series  of  exhibitions  devoted  to  war  sub- 
ject seen  from  time  to  time  in  the  leading  London 
galleries  drew  unprecedented  crowds,  while  a substantial 
number  of  paintings  and  drawings  have  been  purchased 
by  the  Trustees  of  the  Imperial  War  Museum,  the 
Committee  of  the  Canadian  War  Memorials  Fund,  and 
such  enlightened  organizations  as  the  Contemporary 
Art  Society. 

It  was  inevit  able  that  Great  Britain  should  in  this, 
as  in  any  similar  circumstance,  recognize  the  accepted 
leaders  of  contemporary  art.  One  might  readily  have 
predicted  that  R.  A.’s  and  A.  R.  A.’s  would  be  assured 
of  generous  representation.  That  the  list  of  official 
British  war  artists  should,  however,  include  the  names 
of  various  painters  of  manifestly  advanced  persuasion 
— Cubists,  Futurists,  Vorticists,  and  the  like — will 
come  as  something  of  a surprise  to  the  Transatlantic 
public.  Yet  it  is  impossible  too  highly  to  commend  the 
courage  and  liberality  displayed  in  the  selection  of  these 
same  audacious,  aspiring  talents.  Impressionable  and 


enthusiastic,  they  attacked  the  baffling  complexity  of 
their  task  with  free  hand  and  refreshing  singleness  of  aim. 
There  is,  moreover,  not  a little  in  modern  warfare  that 
appeals  to  the  exponents  of  the  new  art,  nor  is  it  saying 
too  much  to  add  that  they  have  triumphantly  held  their 
own  beside  the  older  and  more  experienced  men. 

Such,  in  brief  outline,  is  the  inception  and  general 
scope  of  the  collection  of  war  paintings  and  drawings 
by  British  artists  which  the  Ministry  of  Information 
has  graciously  consented  to  exhibit  in  our  midst.  A 
direct  product  of  war  and  war  conditions,  it  reflects  not 
only  the  varied  aspects  and  incidents  of  the  great 
struggle  but  also  the  actual  state  of  British  artistic 
taste  at  the  present  moment.  You  will  not,  indeed, 
find  British  art  materially  altered  by  over  four  years 
of  incessant  fighting,  for  war  exerts  but  scant  effect  upon 
the  subtle  and  deliberate  process  of  aesthetic  evolution. 
The  same  tendencies  and  characteristics  are  here  as 
before,  only  they  have  undergone  an  appreciable  meas- 
ure of  intensification.  To  fresh  scene  and  subject  has 
been  added  a direct,  forceful  accent  in  keeping  with  the 
temper  of  the  time.  There  is  furthermore  an  emotional 
and  imaginative  appeal  to  much  of  this  work  not 
ordinarily  associated  with  official  art. 

A certain  relevance  attaches  to  the  fact  that  it  was 
no  less  a master  than  Goya  who,  a trifle  over  a century 
since,  was  the  first  artist  to  treat  war  in  the  modern 
spirit.  No  trace  of  the  chivalresque  pageantry  of 
mediaeval  battle  panorama  is  to  be  found  in  such  a 
canvas  as  the  Dos  de  Mayo,  the  original  version  of 
which,  so  tradition  avers,  was  hastily  sketched  upon  a 
nearby  wall  with  the  bloodstained  mud  of  the  gutter. 
H ere  all  is  swift,  tense,  and  horrific.  It  is  a true  combat, 


not  a mere  martial  ceremony.  And  Los  Desastres  de 
la  Guerra,  the  plates  of  which  were  executed  at  irregular 
intervals  until  the  set  was  completed  in  1813,  will 
doubtless  ever  remain  the  most  bitter  and  powerful 
impeachment  of  war  conceived  by  the  stressful,  aspiring 
soul  of  man. 

Beyond  the  detail  that  Goya  painted  portraits  of 
Wellington  and  Palafox,  and  Sir  William  Orpen  has 
given  us  likenesses  of  Haig  and  Foch,  the  two  have 
little  in  common  save  that  the  work  of  the  facile, 
whimsical  Irishman,  like  that  of  the  great,  truculent 
Spaniard,  derives  the  same  stimulus,  and  acquires  a 
similar  measure  of  graphic  intensity,  from  the  virile 
verities  of  human  conflict.  The  hundred-odd  canvases  by 
Major  Sir  William  Orpen,  which  constitute  the  largest 
individual  contribution  to  the  present  exhibition,  reveal 
the  artist  in  a welcome  diversity  of  moods  and  media. 
You  note  here  but  few  echoes  of  the  clever,  somewhat 
overconscious  portraitist,  or  the  painter  of  diverting 
studio  interiors.  The  two  years  Sir  William  spent  on 
the  Western  Front,  with  his  headquarters  mainly  in  the 
quaint,  steep-gabled  little  town  of  Cassel,  have  witnessed 
a decided  increase  in  his  artistic  stature.  None  of  that 
amazing  dexterity  which,  even  at  the  Slade  School,  used 
to  bewilder  his  fellow-students  has  deserted  him,  yet  in 
the  present  instance  the  manner  of  confronting  reality 
is  more  direct,  and  its  transcription  swifter  and  more 
salient  than  ever  before. 

Sir  William  Orpen’s  ability  to  fix  upon  canvas  within 
the  space  of  two  or  three  hours  the  personality  of  a 
sitter  is  matched  by  that  of  few  living  artists.  And  even 
less  time  is  required  in  which  to  seize  the  pictorial 
essentials  of  a given  subject,  whether  it  be  a pair  of 


Boches  stretched  stark  at  the  bottom  of  their  trench,  an 
animated  street  scene,  or  the  delicately  suffused  profile 
of  a distant  butte.  Picturesque  details  are  suggested 
with  unfailing  assurance,  and  one  is  particularly  grateful 
for  the  role  colour  plays  in  these  records  of  wartime 
activity.  Colour  and  character  are  indeed  the  special 
features  of  Sir  William’s  contribution,  since  as  an  Irish- 
man it  is  impossible  for  him  to  suppress  that  element  of 
humorous,  searching  commentary  which  is  the  birthright 
of  his  race.  The  gay  jostles  the  grim  in  these  freshly 
seen  and  freely  sketched  canvases.  Individual  as  are  his 
studies  of  the  figure,  and  veracious  as  are  the  portraits 
of  generals,  staff  officers,  and  sturdy  privates,  it  is  in  his 
likenesses  of  the  aviators  that  Sir  William  strikes  his 
deepest  note.  Y ou  see  in  them  something  more  than 
the  mere  individual.  You  feel  the  sense  of  type,  a type 
new  to  art,  in  these  young  heroes  who,  with  forceful 
fixity  of  eye  and  mind,  have  left  earth  to  chance  fresh 
glory  amid  the  clouds. 

If  Sir  William  Orpen  is  the  most  prolific  of  British 
painters  of  the  Great  War,  Mr.  Muirhead  Bone  is  the 
most  indefatigable  and  fecund  among  its  draughtsmen. 
Widely  known  through  reproduction,  Mr.  Bone’s  draw- 
ings form  the  most  comprehensive  graphic  record  of 
scene  on  the  Western  Front,  at  home  among  the 
industrial  workers,  or  afloat  with  the  Grand  Fleet.  In 
the  current  exhibition  are  a number  of  hitherto  unpub- 
lished subjects,  several  heightened  with  wash,  others 
in  coloured  chalk,  that  cannot  fail  to  enhance  the  artist’s 
reputation.  Mr.  Bone’s  war  drawings  are  unique.  No 
one  possesses  his  rich  fidelity  of  line;  no  one  displays  a 
like  fertility  of  theme  and  treatment.  He  has  pictured 
the  war  continuously  for  many  months,  yet  he  seldom 


fails  to  give  us  a fresh  point  of  view,  or  to  endow  his 
work  with  a certain  emotional  appeal  that  adds  not  a 
little  to  these  glimpses  of  ruined  town,  wasted  country- 
side, or  louring  battleship. 

Equally  distinctive,  and  occupying  a position  of 
kindred  importance  both  numerically  and  artistically,  is 
the  series  of  water-colour  drawings  of  the  Egyptian  and 
Palestine  expeditions  by  Mr.  James  McBey.  A com- 
parative newcomer,  Mr.  McBey’s  preliminary  training, 
which  included  a sojourn  in  Morocco,  admirably  fitted 
him  for  the  portrayal  of  the  activities  of  the  British 
forces  in  the  Near  East.  An  accurate  eye  for  aerial 
perspective,  and  a subtle  perception  of  atmospheric 
values,  have  enabled  the  artist  to  give  us  in  swift,  delicate 
washes  and  sensitive  line,  characteristic  impressions  of 
this  most  picturesque  of  all  the  various  campaigns  of  the 
Great  War. 

Replete  with  observation  and  the  spirited  rendering 
of  external  appearance  as  is  the  production  of  the  fore- 
going men,  there  is  yet  another  and  quite  opposite 
attitude  to  be  taken  toward  war  as  seen  from  the  point 
of  view  of  the  artist.  The  work  of  Sir  John  La  very, 
Sir  William  Orpen,  Mr.  Muirhead  Bone,  Mr.  McBey, 
Mr.  Clausen,  Mr.  John  Everett,  and,  in  somewhat  different 
degree,  of  such  individualists  as  Mr.  Brangwyn,  Mr. 
Augustus  John,  and  Mr.  Kennington,  is  objective  in 
aim  and  appeal.  While  in  each  case  possessing  the 
stamp  of  a definitely  fixed  artistic  personality,  their  con- 
tribution may  broadly  be  termed  a record  of  fact  rather 
than  an  expression  of  feeling.  There  are,  following  the 
illuminating  distinction  of  Blake,  two  ways  of  looking 
at  the  visible  universe — the  one  with  the  eye,  the  other 
through  the  eye.  We  have  considered  at  some  length 


the  work  of  various  British  artists  who  practise  the 
former  method.  We  shall  herewith  confront  the  achieve- 
ment of  certain  younger  and  less  solidified  talents  who 
have  adopted  the  latter. 

It  is  the  fashion  for  vaguely  aspiring  souls  to 
speculate  as  to  what  changes  the  Great  War  is  goingto 
make  in  art.  One  encounters  a variety  of  confusing 
conjectures.  Yet  these  questing  spirits  do  not  seem  to 
realize  that  art  had  already  submitted  to  definite  changes 
preceding  the  war,  and  that  such  changes  have  merely 
been  confirmed  and  substantiated  during  the  stressful 
period  from  which  we  are  emerging.  Impressionism  was 
the  legitimate  product  of  certain  specific  social  and 
intellectual  conditions,  and  that  Impressionism  should 
be  succeeded  by  Expressionism  is  not  alone  logical  but 
also  inevitable. 

The  line  of  demarcation  which,  in  contemporary 
British  art,  separates  the  newer  men  from  their  predeces- 
sors, was  drawn  with  the  advent  at  the  Grafton  Galleries 
in  the  winter  of  1910-11  of  the  so-called  Post-Impres- 
sionist painters.  And  this  line  was  made  more  definite 
by  the  arrival  of  the  Futurists  at  the  Sackville  Gallery 
in  the  spring  of  1912.  The  legacy  of  the  former  was  a 
more  explicit  regard  for  significant  form,  an  appreciation 
of  the  plastic  as  opposed  to  the  merely  pictorial 
possibilities  of  outward  appearance.  The  gift  of  the 
latter  group  consisted  in  a keener  realization  of  that 
dynamic  rhythm  which  is  one  of  nature’s  basic  charac- 
teristics. To  form,  which  with  the  Post-Impressionists, 
or  more  specifically  the  Cubists,  was  too  inert,  too 
static,  the  Futurists  added  the  principle  of  movement. 

The  new  art,  which  can  only  rightly  be  described  as 
Expressionism,  made  immediate  converts  in  England, 


foremost  among  whom  may  be  named  Christopher 
Richard  Wynne  Nevinson.  Passing  with  that  rapid 
power  of  absorption  which  is  the  precious  prerogative  of 
youth  through  the  preliminary  phases  of  Impressionism, 
Cubism,  and  Futurism,  Mr.  Nevinson  finally  arrived  at 
an  individual  stage  of  aesthetic  self-determination.  This 
ardent  apostle  of  modernism  to-day  ranks  as  one  of  the 
few  typical  artistic  exponents  of  war.  While  certain 
others  may,  without  invidiousness,  be  said  to  illustrate 
war,  Mr.  Nevinson  has  succeeded  in  interpreting  war. 
The  distinction  instanced  above  applies  with  special 
pertinence  to  Mr,  Nevinson,  for  he  is  one  who  has  seen 
war  not  alone  with,  but  through,  the  eye. 

In  his  capacity  of  Motor  Transport  driver  and 
mechanic,  of  hospital  orderly  and  official  artist  at  the 
Front,  Mr.  Nevinson  became  acquainted  with  war  in  all 
its  aspects.  He  has,  moreover,  studied  not  alone  war  itself 
but  the  reaction  of  war  upon  the  collective  consciousness. 
His  method  is  synthetic  and  creative,  not  literal  and 
objective.  The  very  spirit  and  essence  of  modern  war  in 
all  its  austere  anonymity  and  mechanistic  might  has 
entered  into  his  work,  transforming  mere  fact  into  an 
eloquent  symbol  of  destructive  energy.  The  particular 
has  here  been  merged  into  the  general. 

It  would  have  been  frankly  impossible  to  depict 
modern  war  as  Mr.  Nevinson  conceives  it  without  having 
recourse  to  the  fundamental  principles  of  modern  art  as 
formulated  by  Cubist  and  Futurist.  Attention  may  be 
called  in  particular  to  his  free  employment  of  repeated 
angles  and  overlapping  planes,  to  the  suggestion  of 
suddenly  released  force  lines  in  his  remarkable  apparition 
of  an  exploding  shell,  and  to  his  use  of  alternating  rhythm 
in  the  swinging  gait  of  troops  on  the  march.  Convincing 


and  suggestive  as  are  these  and  similar  subjects,  it  is 
nevertheless  when  he  ascends  into  the  newly  won  domain 
of  the  sky  that  Mr.  Nevinson  achieves  his  finest  effects. 
Here,  amid  swiftly  stabbing  searchlight  and  silently  burst- 
ing “Archie”  he  becomes  a true  poet  in  a kingdom  ever 
abstract  and  inspiring. 

If  Mr.  Nevinson  in  his  paintings,  etchings,  and  litho- 
graphs has  conquered  for  us  the  sky,  it  has  remained  for 
Mr.  Paul  Nash  to  reveal,  as  it  were,  the  innermost 
torments  of  the  earth.  Mr.  Nash,  like  his  comrade 
of  Slade  School  days,  has  also  seen  active  service.  At 
the  outbreak  of  the  war  he  joined  the  Artists’  Rifles, 
was  later  a Mapping  Instructor,  and  was  afterward 
commissioned  in  the  Hampshires.  If  his  work  creates 
a remote,  fantastic  impression,  it  is  obviously  not 
because  he  is  in  any  sense  unfamiliar  with  his  material. 

The  seemingly  crude,  almost  achromatic  canvases  of 
Mr.  Nash  depict  what  may  be  described  as  nature’s 
dance  of  death.  The  landscape  lies  riven  and  desolate 
about  one.  There  are  few  signs  of  life,  and  little  motion 
save  when  the  scene  is  fitfully  illumined  by  a star  shell, 
or  the  earth’s  surface  is  rent  as  by  a subterranean  con- 
vulsion. In  contrast  to  the  abstract,  scientific  modernism 
of  Mr.  Nevinson,  there  is  something  archaic,  almost 
apocalyptic  in  the  inspiration  of  Mr.  Nash.  A recreation 
rather  than  a record,  this  art  is  frankly  subjective  and 
selective.  Mr.  Nash’s  method  is  the  method  of  all 
visionaries,  not  forgetting  Blake  of  whom  he  is  a true 
artistic  descendant.  He  chooses  only  such  elements  as 
serve  to  strengthen  the  impression  he  seeks  to  convey, 
and  these  he  combines  with  all  the  emotional  intensity 
at  his  command.  The  work  of  Mr.  Nash  presents 
certain  contrasting  characteristics.  In  its  deliberate 


employment  of  almost  exclusively  plastic  forms  this 
art  is  typically  modern.  In  spirit  it  is  as  old  as  that 
primal  awe  and  apprehension  in  the  presence  of  nature 
which  it  convincingly  portrays. 

The  discreet  liberalism  so  characteristic  of  the  New 
English  Art  Club,  seen  to  advantage  in  the  work  of 
Professor  William  Rothenstein  and  Mr.  C.  J.  Holmes, 
is  further  supplemented  by  the  inclusion  in  the  present 
exhibition  of  such  recruits  from  the  ranks  of  the  extremists 
as  Mr.  Wyndham  Lewis  and  Mr.  William  P.  Roberts.  If 
Mr.  Nevinson,  once  a fervid  Futurist,  has  become  an  elo- 
quent exponent  of  the  rhythmic  dynamism  of  war,  the  same 
is  true  in  lesser  degree  of  Mr.  Lewis,  the  avowed  leader  of 
the  Vorticists.  We  shall  not  pause  to  elucidate  Vorticism, 
of  which  Mr.  Lewis  is  the  most  ardent  protagonist.  It 
is  sufficient  again  to  congratulate  those  in  authority 
upon  possessing  the  salutary  eclecticism  to  choose  their 
interpreters  of  the  war  not  alone  from  the  approved 
precincts  of  the  Royal  Academy  Schools  and  Burlington 
House,  but  also  from  the  Slade  and  the  so-called  rebel  art 
centres  of  Camden  Town  where  freedom  alike  of  idea 
and  of  expression  flourish  unabashed. 

Every  generation,  every  decade  even,  possesses  its 
own  particular  point  of  view,  and  is  entitled  to  its  own 
manner  of  presenting  it.  To  deny  the  one  is  as  futile  as 
to  decry  the  other.  That  the  war  has  proved  of  distinct 
benefit  to  art,  and  that  art  has  at  last  evolved  a significant 
method  of  interpreting  war,  are  facts  which  should  be 
apparent  to  any  discerning  mind.  And  it  is  equally 
obvious  that  had  the  Great  War  not  found  art  in  a 
healthy  state — courageous  and  experimental — we  should 
be  deprived  of  the  only  genuinely  aesthetic  stimulus  war 
has  vouchsafed  us  since  the  days  of  the  virile,  passionate 
chronicler  of  Los  Desastres  de  la  Guerra. 


[29] 


SIR  WILLIAM  ORPEN 
A BRITISH  AIRMAN 


CATALOGUE 


ADENEY,  W.  B. 

Member  of  the  London  Group.  Served  in  France  in  the 
Tank  Corps,  British  Expeditionary  Force.  Has  made  a 
specialty  of  water-colour  drawings  of  war  subjects  treated 
in  rather  broad  style. 

1  A WHIPPET  TANK 

His  Majesty’s  Land  Ships  have  been  evolved  during  the  war.  Their  birth- 
place was  Lincoln,  England.  Tanks  have  revolutionized  the  battlefield  and 
have  played  no  small  part  in  the  various  advances  against  the  enemy. 


BENTLEY,  ALFRED 

Studied  at  the  Royal  College  of  Art,  London,  under  Sir 
Frank  Short.  Fellow  of  the  Royal  Society  of  Painter-etch- 
ers and  Engravers.  Joined  Artists’  Rifles,  April  1915, 
was  gazetted  to  the  Norfolk  Regiment,  and  served  in 
France.  Awarded  the  Military  Cross. 

2 CRATER  STRETCHER  BEARERS 

Dangerous  work  for  the  Red  Cross  men  who  render  aid  to  the  fallen. 

3 GERMAN  TRENCH  AND  STRONG  POINT 
Destroyed  by  the  enemy  before  evacaution. 

4 FROM  A PILL-BOX  IN  THE  GLENCORSE  WOOD 
A characteristic  drawing  depicting  a scene  near  Ypres. 

BONE,  MUIRHEAD 

Studied  at  the  Glasgow  School  of  Art.  Member  of  the 
New  English  Art  Club  and  the  Society  of  Twelve.  His 
drawings,  etchings,  and  drypoints  are  unique  in  contem- 
porary art.  Was  appointed  official  artist  and  went  to 
France,  August  1916.  Has  recorded  not  only  the  envi- 
ronment of  the  British  Army  but  that  of  the  Royal  Navy  and 
Munition  Workers. 

5 AMERICAN  RIVER  STEAMER  IN  AN  ENGLISH  HARBOUR 
This  boat  was  brought  to  England  to  assist  in  carrying  American  troops 
from  Southampton  to  Havre  or  Rouen. 


[31] 


6 YPRES  IN  1916 

October  31,  1914,  is  held  sacred  to  the  memory  of  the  officers  and  men 
of  the  old  British  Army  “which  gathered  the  spears  of  the  Prussian  legions 
into  its  breast  and  in  perishing  saved  Europe.”  That  day  was  the  most 
critical  in  the  First  Battle  of  Ypres,  which  must  always  be  considered  as 
one  of  the  decisive  battles  of  the  world. 

7 OUT  OF  THE  LINE 

Typical  warrant  officers  and  senior  non-commissioned  officers  of  the  Black 
Watch  listening  to  the  regimental  pipers. 

8 THE  ORANGERY,  DENIECOURT  CHATEAU 

Nothing  remains  but  a few  broken  posts  with  fragments  of  wood  and  iron- 
work. One  of  the  many  beautiful  estates  ruthlessly  wrecked  by  the  grim 
fortunes  of  war. 

9 A NAVAL  PANORAMA 

The  British  soldiers  in  Belgium  or  France  did  not  see  much  of  the  Navy 
itself.  But  every  day  brought  proof  that  the  Navy  was  holding  its  part  of 
the  line. 

10  MEN  OF  THE  R.  F.  A.  CLEANING  THEIR  GUNS 

When  a battery  comes  out  of  the  line  to  rest  and  recuperate,  its  first  form 
of  repose  is  gun-cleaning. 

11  “INCONNU” 

The  grave  of  some  officer  or  man  whose  body  could  not  be  identified.  An 
eloquent  reminder  of  the  anonymity  of  modern  war. 

12  THE  CHATEAU,  FOUCAUCOURT 

This  country  house  stood  about  a mile  and  a half  behind  the  Allied  front 
line  in  1916.  It  was  shattered  by  German  shells. 

13  MAIN  STREET  OF  FLERS,  SUNSET 

There  was  an  extraordinary  scene  at  Flers  on  September  15,  1916,  the  first 
day  tanks  were  used  in  war.  A British  tank  made  its  way  into  Flers,  and 
moved  up  and  down  the  village  street  firing  on  the  Germans. 

14  THE  SEVEN  CRANES 

A British  shipyard  scene.  On  the  right  a great  ship  is  under  construction. 
The  artist  has  been  especially  successful  with  such  themes. 

15  ERECTING  AEROPLANES 

Everything  is  light  and  delicate,  the  bright  varnished  wood  curved  into 
shapes  like  violins,  the  women  flitting  with  their  needleeraft  around  the 
wide  dazzling  planes.  These  exquisite  creations  fly  away  from  their  makers’ 
hands  when  completed  and  do  not  burden  the  railway. 


16  A BRITISH  SHIPYARD  SEEN  FROM  A BIG  CRANE 

Distance  and  perspective  force  us  to  realize  the  vastness  of  this  enormous 
piece  of  machinery  which  picks  up  a warship  as  we  would  an  apple. 


17  THE  BRIDGE  OF  A BRITISH  MERCHANT  SHIP  AT  SEA 

The  keen  faces  intent  on  their  work  are  typical  of  the  British  Mercantile 
Marine  which,  in  the  words  of  Lord  Jellicoe,  “has  founded  a new  and  glori- 
ous tradition  in  the  teeth  of  new  and  undreamed-of  perils  and  has  borne 
the  full  brunt  of  the  enemy’s  illegal  submarine  warfare.” 

18  THE  UNTILLED  FIELDS 

This,  or  something  like  it,  meets  the  eye  almost  everywhere  behind  the  West- 
ern Front.  In  the  distance  is  the  ghost  of  a dead  village;  but  agriculture 
creeps  steadily  forward  in  the  wake  of  the  advancing  Allied  armies. 

19  WAITING  FOR  THE  WOUNDED 

British  surgeons  of  a Divisional  Collecting  Station  are  awaiting  the  arrival 
of  the  first  laden  stretcher  bearers.  In  a few  minutes  the  three  officers 
will  be  at  work,  perhaps  for  twenty-four  hours  on  end. 

20  MEN  OF  THE  R.  F.  C.  BUILDING  THEIR  WINTER  HUT 
Easily  erected  and  equipped.  A pleasant  variation  from  more  serious 
duties. 

21  ON  A HOSPITAL  SHIP  TAKING  PARTICULARS  OF  THE  CASES 
At  some  point  in  the  passage  an  R.  A.  M.  C.  orderly  asks  every  patient  to 
what  part  of  “Blighty”  he  belongs,  and  an  effort  is  made  to  send  him  to  a 
hospital  near  his  home. 

22  A LINE  OF  BRITISH  DESTROYERS 

Seen  from  a distance,  in  this  formation,  a long  line  of  destroyers  suggests 
a battalion  drawn  up  in  line  of  platoons  in  file. 

23  THE  OLD  MAYFLOWER  HOUSE,  PLYMOUTH 

Near  the  place  of  embarcation  to  America,  1620,  of  the  Pilgrim  Fathers. 


24  THAWING  OUT 

A British  pilot  in  France,  who  has  just  come  down  from  three  hours  duty 
in  the  air,  is  thawing  out  over  a spirit  stove  in  his  tent. 


25  REPAIRING  A TORPEDOED  SHIP  IN  AN  ENGLISH  HARBOUR 
This  was  originally  the  German  merchant  ship,  the  Armenia  of  Hamburg. 
She  was  taken  over  by  the  Americans,  and  though  twice  torpedoed  on  her 
journey  to  England,  was  brought  safely  into  Southampton  Docks.  Her 
stern  is  being  repaired,  a remarkable  feat,  by  the  Salvage  Section  of  the 
Admiralty. 


26  H.  M.  S.  VINDICTIVE  AFTER  ZEEBRUGGE 

On  the  morning  of  St.  George’s  Day,  April  23,  1918,  a successful  attack  by 
a British  Naval  force  was  made  on  Zeebrugge  and  Ostend,  one  of  the  most 
dramatic  achievements  of  the  war.  H.  M.  S.  Vindictive  was  fitted  along 
the  port  side  with  a high  false  deck  with  eighteen  gangways  from  which  parties 
of  Bluejackets  and  Marines  were  landed  on  Zeebrugge  Mole.  The  block 
ships  Intrepid,  Iphigenia,  and  Thetis  were  sunk  at  the  mouth  of  the 
Bruges  Canal.  In  the  drawing  the  Vindictive  is  seen  littered  with  the 
debris  of  battle  immediately  after  her  return  to  Dover.  Note  the  horse- 
shoe which  had  been  placed  “for  luck”  on  the  centre  funnel  of  the  cruiser. 
A few  weeks  after  this  action  the  Vindictive,  filled  with  concrete,  was 
sunk  across  the  entrance  of  Ostend  harbour. 

27  A BRITISH  TANK 

To  the  British  soldier  a tank  is  a friendly  giant  with  droll  tricks  of  gait  and 
gesture.  Air.  Adeney,  Air.  Nevinson,  and  Sir  William  Orpen  have  also 
given  us  characteristic  versions  of  the  tank. 


BRANGWYN,  FRANK 

A commanding  figure  in  contemporary  art.  Painter, 
mural  decorator,  etcher,  lithographer,  and  designer.  Pres- 
ident, R.  B.  A.;  A.  R.  A.;  R.  P.  E.;  Hon.  R.  S.  A.  Member 
Societe  Nationale  des  Beaux-Arts  and  numerous  Conti- 
nental art  societies.  Has  devoted  much  time  to  marine 
types  and  scenes  of  which  he  is  an  unrivalled  master. 

28  THE  GUN 

One  of  a series  of  similar  war  subjects  known  under  the  collective  title  of 
Making  Sailors.  The  drawing  reveals  Mr.  Brangwyn  at  his  best  in  a field 
which  is  peculiarly  his  own. 


CLAUSEN,  GEORGE 

Royal  Academician.  Noted  for  his  poetic  and  luminous 
interpretations  of  pastoral  scene.  His  lectures  to  students 
of  the  Royal  Academy  and  his  book  entitled  Aims  and 
Ideals  in  Art  reveal  a ripe  knowledge  of  his  subject.  Has 
applied  his  powers  successfully  to  war  themes,  often  alleg- 
ories, and  to  a splendid  series  of  lithographs. 

29  RENAISSANCE 

Lord  Curzon  believes  the  action  of  Germany  in  invading  and  devastating 
Belgium  must  always  remain  the  greatest  crime  in  history.  A day  of 
retribution  must  come  when  the  New  Belgium  will  arise  in  the  spirit  of 
Renaissance. 


30  THE  FURNACE 

An  example  of  Mr.  Clausen’s  successful  handling  of  light,  and  an  interesting 
use  of  scraping,  a reversal  of  the  usual  process  in  lithography.  Here  the 
stone  is  covered  with  black,  and  the  picture  made  by  scraping. 

31  THE  GREAT  HAMMER 

Another  of  the  artist’s  wartime  lithographs  which  are  classed  under  the 
general  title  of  Making  Guns.  Mr.  Clausen  has  added  not  a little  to  his 
artistic  reputation  by  this  splendid  series  of  drawings. 


EPSTEIN,  JACOB 

Born  in  New  York.  Pupil  of  the  American  sculptor, 
George  (trey  Barnard.  Has  made  a distinctive  reputation 
in  Europe.  Executed  figures  for  the  British  Medical  Associa- 
tion Building,  London,  and  the  tomb  of  Oscar  Wilde,  Pere 
Lachaise  Cemetery,  Paris.  After  some  months  in  the  British 
Army  as  a private,  was  invalided  out. 

32  THE  TIN  HAT 

“ Mr.  Epstein ’s  tin-hatted  soldiers  are  the  very  epitome  of  our  brave  Army.  ” 
— Sir  Arthur  Wing  Pinero.  Particular  interest  attaches  to  this  subject  as 
being  the  only  piece  of  sculpture  in  the  exhibition. 


EVERETT,  JOHN 

Studied  at  the  Slade  School.  Has  given  special  attention 
to  shipping  and  marine  subjects.  Twice  round  the  world  in  a 
sailing  ship.  Enlisted  in  the  British  Army  1914,  and  was 
invalided  out  in  1916. 

33  CONVERTING  THE  S.S.  NANERIG  INTO  AN  AUXILIARY 

CRUISER;  PORT  OF  LONDON 

Many  daring  deeds  have  been  performed  with  ships  which  before  the  war 
were  associated  only  with  luxurious  travel.  To  adapt  some  of  these  vessels 
required  no  little  ingenuity. 

34  S.S.  SHUN  A DISCHARGING  TIMBER;  PORT  OF  LONDON 

A scene  rendered  additionally  interesting  by  the  ship’s  camouflage,  which 
indicates  new  dangers  at  sea,  minimized  by  ingenious  employment  of  line 
and  colour. 

35  DISCHARGING  FLOUR  INTO  LIGHTERS;  PORT  OF  LONDON 
The  ship,  decorated  in  approved  wartime  manner,  has  come  safely  to  port 
with  its  cargo  and  is  being  unloaded. 


36  ARMED  AUXILIARY  CRUISER  BRINGING  AMERICAN  TROOPS 
INTO  THE  THAMES 

American  soldiers  received  many  tokens  of  comradeship  from  the  time  of 
their  arrival  in  English  ports.  On  disembarcation  each  officer  and  man 
was  handed  a facsimile  copy  of  a letter  from  the  King,  beginning  “The 
people  of  the  British  Isles  welcome  you  on  your  way  to  take  your  stand 
beside  the  Armies  of  many  Nations  now  fighting  in  the  Old  World  the 
great  battle  for  human  freedom.  ” 


GILL,  COLIN  W. 

Was  awarded  Slade  Scholarship  1911;  British  Institution 
Scholarship  1912;  Rome  Scholarship  1913.  Relinquished 
art  studies  soon  after  outbreak  of  war.  In  December  1914 
joined  Officers’  Training  Corps.  Was  gazetted  Royal  Gar- 
rison Artillery  1915,  transferred  to  the  Royal  Engineers  and 
served  in  France  for  two  and  one-half  years. 

37  THE  CAPTIVE 

A decoratively  conceived  painting  depicting  a familiar  scene.  The  German 
apparently  has  no  fear  of  ill  usage  by  his  English  captor. 

38  EVENING  AFTER  A PUSH 

The  time  for  secret  movements  by  the  opposing  forces,  sometimes  detected 
by  means  of  star  shells. 


HOLMES,  C.  J. 

Artist,  author,  and  connoisseur.  Member  of  the  New 
English  Art  Club.  His  landscapes  of  the  Lake  District  are 
especially  notable.  Slade  Professor  of  Fine  Art,  Oxford, 
1904-1910.  Director  of  the  National  Portrait  Gallery, 
1909-1916.  Director  of  the  National  Gallery,  London, 
1916. 

39  BUILT  SINCE  WAR  BEGAN— A 

40  BUILT  SINCE  WAR  BEGAN— B 

41  BUILT  SINCE  WAR  BEGAN— C 

42  BUILT  SINCE  WAR  BEGAN— D 

43  BUILT  SINCE  WAR  BEGAN— E 

A.  and  B.  represent  a new  forge,  in  which  German  prisoners  are  given 
employment,  while  C.,  D.  and  E.  show  an  extension  of  a steel  works  near  a 
great  industrial  centre  in  England. 


JOHN,  AUGUSTUS 

Member  of  the  New  English  Art  Club.  President  of  the 
National  Portrait  Society.  He  is  one  of  the  outstanding 
products  of  the  Slade  School.  Recently  engaged  on  a 
large  picture  typifying  the  Canadian  Forces  in  France,  in 
which  his  great  powers  of  draughtsmanship  and  composition 
will  doubtless  be  fully  revealed. 

44  FRATERNITY 

Unlimited  tobacco  is  one  of  the  consolations  of  active  service.  Though  Mr. 
John  is  not  copiously  represented  in  the  exhibition  this  is  a characteristic 
example  of  his  art. 


KENNINGTON,  ERIC  II. 

Went  to  France  in  1914  as  a private  in  the  13th  Battalion 
of  the  London  Regiment  known  as  “The  Kensingtons.” 
Invalided  out  of  the  Army  in  June  1915.  In  1917  was  given 
facilities  to  visit  France  as  an  artist  and  painted  numerous 
accurate  records  of  the  common  soldier. 

45  A GIANT  CHESHIRE 

A fine  type  of  English  soldier.  The  public  will  always  owe  Mr.  Ivenning- 
ton  a debt  of  gratitude  for  the  sterling  fidelity  of  his  viewpoint. 

46  IN  THE  FRONT  LINE  TRENCH 

The  most  striking  of  a series  entitled  Making  Soldiers. 


LAVE  BY,  SIR  JOHN 

Associate  of  the  Royal  Academy;  R.S.A.;  R.II.A.  Born 
in  Belfast,  studied  in  Glasgow,  London,  and  Paris.  Lives 
and  works  in  London . Has  long  enjoyed  distinguished  recog- 
nition in  the  leading  Continental  art  circles.  Has  painted 
many  official  war  pictures  both  ashore  and  afloat. 

47  AMERICAN  SOLDIERS  LEAVING  AN  ENGLISH  PORT  FOR  THE 
FRONT 

“Hark!  I hear  the  tramp  of  thousands 
And  of  armed  men  the  hum : 

Lo!  a nation’s  hosts  have  gathered 
Round  the  quick  alarming  drum.’’ 

Bret  Harte. 


48  A LONDON  DRAWING-ROOM,  WARTIME 

Many  large  private  houses  in  the  West  End  of  London  have  been  trans- 
formed into  temporary  hospitals  and  the  wounded  enjoy  the  luxury  of  their 
environment. 

49  SHELL  MAKING,  SCOTLAND 

Woman’s  share  in  the  making  of  shells  has  been  worth  many  divisions  of 
troops. 

50  A BRITISH  AERODROME 

By  practice  flights  on  days  when  the  machines  look  like  Tennyson’s  rooks 
“blown  about  the  skies,”  the  young  pilot  in  England  fits  himself  to  help  the 
guns  and  the  infantry  in  action. 

51  SCENE  AT  A CLYDE  SHIPYARD 

Men  and  women  at  work  in  a shop  concerned  with  shipbuilding  and  marine 
engineering. 


LEWIS,  WYNDHAM 

Member  of  the  London  Group.  Founder  of,  and  chief  con- 
tributor to,  Blast,  the  organ  of  the  Vorticists.  Some  rooms 
decorated  by  him  in  the  Cubist  style  created  a sensation  in 
1914.  Is  now  an  officer  in  the  Royal  Garrison  Artillery. 

52  [A  SIEGE  BATTERY  PULLING  IN 

It  is  a busy  scene  when  big  guns  are  brought  to  new  positions. 

53  DIGGING  THE  PIT  FOR  A HOWITZER 

The  making  of  emplacements  is  so  important  a part  of  an  artillery  action 
that  minute  scientific  knowledge  is  required  by  the  officers  responsible  for 
the  arrangements. 


54  THE  ATTACK 

An  impression  of  the  moment  known  in  the  British  Army  as  “over  the  top. 


McBEY,  JAMES 

Born  in  Newburgh,  near  Aberdeen.  A self-taught  artist, 
who  began  etching  at  seventeen  and  who  soon  became 
known  by  his  etchings  and  water-colours.  Appointed 
official  artist  in  Egypt  and  Palestine,  1917. 


CAMEL  CORPS.  NIGHT  MARCH  TO  BEERSHEBA 
General  Sir  E.  II.  Allenby  entered  Beersheba  on  October  31,  1917. 


56  DETRAINING  A HOWITZER  BY  MOONLIGHT 

At  railhead  the  men  of  a siege  battery  haul  the  limber  of  one  of  their  guns 
from  the  truck. 

57  THE  WADI  ALI 

One  of  the  three  passes  by  which  access  to  the  Judean  Plateau  is  possible. 
The  Philistine  Plain  comes  right  up  to  the  defile,  through  which  runs  the 
road  from  Jaffa  to  Jerusalem.  Troops,  guns,  transport  of  all  kinds — 
tractor,  camel,  lorry,  horse,  and  donkey — pouring  into  the  sombre  gap  in 
the  mountain  wall  made  one  of  the  most  impressive  spectacles  of  the  war. 


58  ENTRY  OF  THE  ALLIES  INTO  JERUSALEM 

Sir  E.  H.  Allenby  entered  Jerusalem  on  December  11,  1917.  The  excite- 
ment was  intense.  With  difficulty  the  troops  and  the  ex-Turkish  police  kept 
the  roadway  clear.  The  representatives  of  the  Allied  Powers  entered  by  the 
old  Jaffa  Gate  on  foot.  To  the  left  is  the  Tower  of  David  and  the  breach 
in  the  walls  which  was  made  by  the  Turks  for  the  entry  of  the  Kaiser 
when  he  visited  Jerusalem  in  1898. 


59  WATER  TRANSPORT 

Water  is  thus  conveyed  to  the  men  in  the  trenches  by  the  transport  system 
dating  from  Abraham’s  time. 


60  LANDING  AMMUNITION 

Egyptian  Labour  Corps  landing  boxes  of  ammunition  from  steamers  near 
Jaffa  during  the  advance. 

61  CACOLETS 

Wounded  being  conveyed  over  the  hill  of  Judea  to  the  Casualty  Clearing 
Station  in  covered  stretchers  on  the  backs  of  camels. 


62  THE  FIRST  TRACTOR  AT  JERUSALEM 

The  size  of  this  machine  seems  actually  to  dwarf  surrounding  objects. 


63  REVEILLE 

The  tents  of  the  Imperial  Camel  Corps.  The  Australian  trumpeter  wakes 
the  sleeping  camp. 

64  CAVALRY  CONCENTRATION 

The  road  to  Jericho  descends  steeply  from  the  Mount  of  Olives  to  the  wilder- 
ness of  the  hills,  broken  by  deep  ravines. 


65  PIONEERS 

A bridge  blown  up  by  the  Turks  half  way  on  the  road  between  Jerusalem 
and  Jericho. 


66  THE  LONG  PATROL.  TRACKS  DISCOVERED 

Suddenly  the  guides  draw  up,  and  the  faint  traces  on  the  sand  are  subjected 
to  the  acutely  mobilized  scrutiny  of  the  assembled  patrol. 


67  ON  TEL  EL  JEMMI, 

A view  from  the  top,  where  signalmen  are  heliographing.  In  the  distance 
are  the  mountains  of  Judea.  On  the  desert  horizon  lies  the  Gaza-Beersheba 
road. 


68  BACTERIA 

In  the  laboratory  of  a Field  Hospital  the  London  specialist  and  his  assistant 
examine  the  contents  of  a test  tube.  The  artist  has  here  produced  a most 
successful  drawing  and  a fine  study  of  concentrated  attention. 

69  GAZA 

Seen  from  an  observation  post.  The  ground  in  front  slopes  to  the  level  of 
the  eyes.  The  shells  on  the  left  are  bursting  on  El  Arish  Redoubt.  The 
great  Mosque  is  between  the  two  trees  on  the  high  part  of  the  town. 


70  A HOSPITAL  WARD 

A dysentery  ward  of  the  great  General  Hospital  at  Port  Said — the  adapted 
new  buildings  of  the  Suez  Canal  Company. 


71  DISTANT  DRUM  EIRE 

Somewhere  on  the  right  of  the  line  is  considerable  activity.  In  the  bivvys 
and  dug-outs  of  the  battery  the  men  play  house  or  write  home  until  wanted, 
indifferent  to  the  thunder  or  the  blinding  heavens. 


72  LOADING  PROVISIONS 

Moored  alongside  a pontoon  the  transport  is  being  provisioned  for  her 
return,  and  cases  of  biscuits  are  being  taken  on  board. 

73  A BALLOON  ASCENDING 

One  of  the  “sausages”  going  up  to  spot  for  the  guns  of  the  monitors.  Mr. 
McBey's  drawings  while  specific  in  subject  are  always  artistic  in  treatment. 

74  ARRIVAL  IN  PORT 

The  destroyers,  having  nosed  ahead  like  ferrets  all  the  way  from  France, 
stop,  and  as  the  transport  passes  them,  are  seen  alongside  for  the  first  time. 


75  INSPECTION  OF  SCOTTISH  TROOPS.  THE  MARCH  PAST 

On  October  30,  1917,  men  who  were  to  participate  in  the  attack  on  Gaza 
that  night  were  inspected  by  the  Divisional  General. 


76  ANTI-AIRCRAFT 

Amid  the  luxuriant  foliage  of  a Jericho  orchard  two  “Archies”  thrust  their 
muzzles  from  the  trees.  A Taube  has  been  sighted,  and  the  gunners  await 
the  range  from  the  man  at  the  left.  The  scene  is  typical  of  the  pictur- 
esque Palestine  campaign. 


77  ORDNANCE  WORKSHOPS,  JERUSALEM 

There  is  a popular  superstition  regarding  the  terebinth  tree  outside  that 
as  it  dies  the  Turkish  rule  in  Palestine  will  decline.  The  year  1918  it  put 
forth  what  appeared  to  be  its  last  leaves.  The  Turkish  authorities  did 
what  they  could  to  preserve  the  tree.  Note  the  strong  iron  band  placed 
about  the  sturdy  trunk. 


78  CONVALESCENTS 

At  the  Mahemdia  hospital.  In  the  Bay  of  Tina  the  fish  are  plentiful  and 
unsophisticated  enough  to  warrant  hour  after  hour  being  spent  watching 
the  lines  set. 

79  MONITORS  BOMBARDING  GAZA 

On  the  beach  about  six  miles  from  Gaza.  Monitors  and  minesweepers  on 
the  horizon.  The  Palestine  campaign  would  have  been  vastly  more  difficult 
without  the  co-operation  of  the  Navy. 


80  SUBMARINE  PICKET 

On  the  way  to  Palestine.  As  each  man  takes  his  duty  in  the  slung-out 
boats  he  strains  his  eyes  over  the  dancing  wash,  certain  he  will  be  the  first 
to  sight  the  hostile  periscope.  In  the  drawing,  transport  and  escort  have 
finished  a zigzag.  Nowhere,  more  than  in  the  Mediterranean,  has  the  zig- 
zag been  practised  with  success. 


MENINSKY,  BERNARD 

Russian  by  birth,  English  by  naturalization.  Studied  at 
Slade  School.  Served  in  the  Royal  Fusiliers.  Paints  in 
a broad  but  subdued  vein  and  displays  a strong  sense 
of  character. 

81  THE  PLATFORM  CANTEEN,  VICTORIA  STATION 

A Leave  Train  has  just  reached  London  and  many  soldiers  linger  on  the 
platform  to  take  refreshments.  A significant  and  oft-repeated  scene 
during  the  course  of  the  war. 


82  VICTORIA  STATION,  DISTRICT  RAILWAY 

Soldiers  on  leave  in  London,  waiting  for  a train  on  the  Underground  Railway. 
Note  the  variety  of  type  which  the  artist  has  successfully  suggested. 


NASH,  JOHN 

Member  of  the  London  Group.  Joined  the  Artists’  Rifles 
in  1916  and  served  in  France  as  an  N.C.O.,  where  he  made 
his  studies  of  war  subject  at  first  hand. 

83  A FRENCH  HIGHWAY 

British  infantrymen  and  French  cavalrymen  in  the  cold  dreariness  of  dawn. 
The  mingling  of  Allied  troops  gives  a cosmopolitan  appearance  to  some  dis- 
tricts. 

84  BRIDGE  OVER  THE  ARRAS-LENS  RAILWAY 

In  April  1917,  the  British  attacked  from  Lens  to  Arras  and  gained  much 
ground,  including  the  Vimy  Ridge.  The  place  depicted  was  known  as 
“the  cutting.” 

85  ADVANCE  POST,  DAY 

One  man  watches  at  the  periscope  on  the  bayonet  point  for  any  signs  of  move- 
ment. Others  rest  while  waiting  their  turn  for  the  same  duty. 

86  ADVANCE  POST,  NIGHT 

In  daytime  there  is  often  quietness  and  the  sentries  are  not  disturbed,  but 
at  night  everyone  is  on  the  alert. 

87  STAND  TO  BEFORE  DAWN 

The  hour  approaches  for  relief  and  the  men  who  have  watched  at  night  will 
soon  be  off  duty. 

88  A BOMBING  POST  IN  THE  SNOW 

A cold  spot  and  a dangerous  one,  but  hardships  are  endured  with  unfailing 
determination.  This  is  one  of  the  most  characteristic  of  the  artist’s 
sketches  of  life  and  scene  at  the  Front. 


NASH,  PAUL 

Studied  at  the  Slade  School.  On  the  outbreak  of  war, 
joined  the  Artists’  Rifles  and  was  given  a commission  in 
the  Hampshire  Regiment.  Served  in  France  and  after- 
wards was  afforded  facilities  to  paint  pictures  of  the  war. 

89  NIGHT  IN  THE  YPRES  SALIENT 

British  soldiers  never  made  a more  glorious  stand  than  in  the  First  Battle 
of  Ypres,  1914.  The  destiny  of  the  British  Empire  was  then  in  the  balance. 

90  WE  ARE  MAKING  A NEW  WORLD 

A characteristic  scene  showing  the  desolation  wrought  by  wartime  havoc. 


91  THE  MULE  TRACK 

Army  horses  and  mules  play  a great  part  in  the  war.  Batteries  in  forward 
positions  are  often  supplied  with  ammunition,  carried  without  vehicles, 
and  it  is  the  business  of  the  “air-spotter”  to  note  from  above  any  such 
indications  of  an  advance.  The  scene  depicted  shows  that  in  this  case 
such  movements  have  been  located. 


92  SPRING  IN  THE  TRENCHES 

After  the  winter  period  of  comparative  quietness  the  weather  presages 
an  offensive,  and  the  beauty  of  the  spring  landscape  will  soon  be  ruthlessly 
destroyed. 


93  MONT  ST.  ELOI 

The  scene  of  vital  engagements  from  the  time  of  the  Ypres-Armentieres 
battle,  1914,  to  the  last  German  offensive  of  April  1918,  when  the  Channel 
Ports  were  threatened  and  Sir  Douglas  Haig  said: — “Every  position  must 
be  held  to  the  last  man:  there  must  be  no  retirement.  With  our  backs  to 
the  wall  and  believing  in  the  justice  of  our  cause,  each  one  of  us  must  fight 
on  to  the  end.” 


94  NIGHTFALL,  Z1LLEBEEKE  DISTRICT 

“On  the  night  of  October  24-25  the  1st  Division  concentrated  about 
Zillebeeke.”  So  wrote  Sir  John  French  in  one  of  his  early  despatches,  and 
in  this  drawing  is  suggested  the  nature  of  the  spot. 


95  SUNSET,  RUIN  OF  THE  HOSPICE,  WYTSCHAETE 

The  scene  of  almost  continuous  fighting  since  1914.  Nineteen  deep  mines 
under  the  enemy’s  defences  were  exploded  at  the  moment  of  the  great 
assault  on  the  Messines-Wytschaete  Ridge  in  June  1917. 


96  THE  FIELD  OF  PASSCHENDAELE 

There  was  a great  British  victory  in  October  1917,  in  front  of  the  Passchen- 
daele  Ridge,  which  however,  passed  again  into  the  hands  of  the  Germans. 
It  was  taken  in  October  1918  by  Belgian  forces  in  co-operation  with  the 
Second  British  Army. 

97  HOWITZER  FIRING 

The  art  of  camouflage  has  been  developed  to  a surprising  extent  , and  success 
in  storming  an  enemy  position  is  often  due  to  the  clever  concealment  of  the 
guns  in  the  preliminary  stages. 


98  GERMAN  FRONT  LINE,  GHELUVELT  VILLAGE 

The  scene  of  a glorious  episode  in  the  First  Battle  of  Ypres,  1914.  The 
Germans  had  taken  Gheluvelt  and  General  Fitz  Clarence,  V.  C.,  ordered  a 
counter-attack.  This  desperate  move  was  carried  out  by  Lieut. -Col.  E.  B. 
Hankey,  in  command  of  the  2nd  Worcester  Regiment.  Calais  was  saved. 


99  THE  LANDSCAPE,  HILL  60 

In  April  1915,  in  the  fighting  southeast  of  Ypres,  the  British  exploded  a 
mine  under  Hill  60  and  took  it.  The  Germans  made  violent  but  futile 
efforts  to  regain  the  hill  but  at  a later  period  were  again  in  occupation. 
Continuous  underground  fighting  took  place  there  for  over  ten  months 
prior  to  the  successful  British  attack  in  June  1917. 


NEVINSON,  C.  R.  W. 

A Futurist  who  with  his  war  pictures  has  gained  many 
converts  to  the  new  conception  of  pictorial  representation. 

In  1914  went  to  France  as  a Motor  Transport  Driver. 
Awarded  Mons  Star.  Discharged  from  the  Army  owing  to 
ill  health.  191G.  Since  then  has  been  to  the  Front,  as  an 
artist,  on  several  occasions. 

100  FRENCH  TROOPS,  DAWN,  1914 

Soldiers  marching  through  a village  during  the  mobilization  of  the  French 
Army. 

101  FRENCH  TROOPS  RESTING 

Soldiers  on  the  march  make  the  best  use  of  the  periodical  halts  and  soon 
learn  the  instinctive  attitudes  for  repose. 

102  BELGIAN  REFUGEES,  1914 

Many  thousands  of  refugees  have  been  given  hospitality  in  England  since 
the  war  began.  Earl’s  Court,  London,  is  still  used  as  a clearing  house  for 
the  homeless. 

103  A RUINED  BELGIAN  FARM 

Sombre  object  lessons  like  this  meet  the  eye  continually  and  bring  to  mind 
the  treachery  which  involved  Belgium  in  the  war. 

104  THAT  CURSED  WOOD 
Illustrating  a poem  by  Siegfried  Sassoon. 

105  REMAKING  A ROAD  AFTER  A GERMAN  RETREAT 

This  work  is  done  rapidly  so  that  there  is  little  delay  in  pursuing  the  enemy. 
In  clearing  away  debris  a sharp  look  out  must  be  kept  for  “booby  traps” 
and  salvage  is  always  carefully  sorted. 

106  BURSTING  SHELL 

The  burst  is  here  seen  from  near  at  hand.  At  a distance  of  a few  hundred 
yards  all  that  is  usually  visible  is  a sudden  rising  of  a small  stack  of  dark 
smoke. 


107  THE  BOMBER 

An  impression  in  the  Cubist  manner  of  a soldier  throwing  a bomb. 


108 

109 

110 

111 

112 

113 

114 

115 

116 

117 

118 

119 


FLANDERS  FROM  THE  CLOUDS 

A bird’s-eye  view  of  a chequered  landscape,  through  which  the  white 
roadways  pass. 

LOOKING  DOWN  ON  A BOMBARDED  TOWN 

An  impression  from  the  air  of  damage  caused  by  an  incendiary  bomb. 


HAULING  DOWN  AN  OBSERVATION  BALLOON  AT  NIGHT 
It  is  a precarious  life  aloft,  for  enemy  airmen  take  care  if  possible  that  such 
“eyes  of  the  army”  shall  not  survive. 

THE  ROAD  FROM  ARRAS  TO  BAPAUME 

A typical  Picardy  landscape.  The  trees  which  once  lined  the  road  were 
sawn  through  by  the  Germans  when  thev  retreated  in  the  early  months  of 
1917. 

OVER  THE  LINES 

As  a rule  the  colour  of  the  puffs  of  smoke  which  surround  or  follow  a high 
flying  aeroplane  is,  to  the  naked  eye,  the  chief  means  of  knowing  whether 
it  is  English  or  German. 

HANS  AND  FRITZ 
Two  prisoners  of  war. 

AFTER  A PUSH. 

This  was  the  aspect  of  wide  tracts  of  country  east  and  northeast  of  Ypres 
during  the  wet  weather  battles  of  October  1917. 


RELIEFS  AT  DAWN 

It  looks  cheerless;  but  dawn  in  the  trenches,  except  on  the  morning  of  a 
battle,  is  really  a time  of  relaxed  tension. 

AFTER  A GERMAN  RETREAT;  BOTTLES 

When  the  enemy  is  forced  to  retreat  there  are  found  many  strange  records 
of  occupation. 

AFTER  A GERMAN  RETREAT:  A LOOTED  COFFIN 
A sinister  discovery  in  a burial  vault. 

SURVIVORS  AT  ARRAS 

By  the  end  of  1916  there  were  but  two  houses  in  Arras  that  had  not  been 
damaged  by  enemy  shell  or  bomb  fire. 


WOUNDED 

Bringing  in  the  wounded  from  No  Man’s  Land. 


120  THE  NERVES  OF  THE  ARMY 

Through  the  work  of  these  men  G.  H.  Q.  is  kept  informed  of  friendly  and 
hostile  movements. 

121  MAKING  THE  ENGINE 

A composition  in  which  the  most  modern  aesthetic  principles  have  been 
employed  to  depict  the  mysteries  of  latter-day  mechanical  construction. 

122  BANKING  AT  FOUR  THOUSAND  FEET 

The  curious  sensation  of  the  man  back  of  the  pilot,  of  being  motionless 
while  the  torque  of  the  propeller  in  front  is  mad  with  motion  and  the  flat 
checker-board  of  the  earth  swiftly  comes  and  goes. 


OllPEN,  SIR  WILLIAM 

Associate  of  the  Royal  Academy;  R.H.A.,  and  member 
of  the  New  English  Art  Club.  Studied  at  Dublin  Metro- 
politan School  of  Art  and  the  Slade  School.  Gazetted  as 
Major  in  the  Army  Service  Corps  and  received  facilities  to 
paint  on  the  Western  Front.  “His  pictures,”  says  a well- 
known  writer,  “explain  themselves  in  their  own  wordless 
language  far  better  than  any  words  can  explain  them.” 

123  THE  RECEIVING  ROOM:  42nd  STATIONARY  HOSPITAL 

124  MAN  WITH  CIGARETTE 

125  THE  FALLING  BOMB 

126  DEAD  GERMANS  IN  A TRENCH 

127  THE  DESERTER 

128  HOWITZER  IN  ACTION 

129  BRINGING  IN  A WOUNDED  TOMMY 

130  POILU  AND  TOMMY 

131  GERMAN  ’PLANES  VISITING  CASS  EL 


132  MAJOR-GENERAL  SIR  DAVID  WATSON,  K.C.B.,  K.C.M.G. 

Took  command  of  the  2nd  Battalion,  1st  Canadian  Divison,  August  1914 
and  lias  been  on  active  service  ever  since.  In  command  of  4th  Canadian 
Division  since  1916. 

133  SOLDIER  RESTING 


134  MINES  AND  BAPAUME  ROAD:  LA  BOISSELLE 


135 

136 

137 

138 

139 

140 

141 

142 

143 

144 

145 

146 

147 

148 

149 

150 

151 

152 

153 

154 

155 


GUNNERS’  SHELTER  IN  A TRENCH,  THIEPVAL 
THE  REFUGEE  (A) 

GERMAN  GUNNERS’  SHELTER,  WARLENCOURT 

VIEW  FROM  THE  OLD  ENGLISH  TRENCHES 

Looking  towards  La  Boisselle:  Courcelette  on  left,  Martinpuich  on  right. 

MY  WORK  ROOM,  CASSEL 

HOUSEHOLD  BRIGADE  PASSING  TO  YPRES  SALIENT,  CASSEL 
MAIN  STREET,  COMBLES 
THE  SOMME— CLEAR  DAY 

View  from  the  English  trenches  opposite  La  Boisselle,  showing  German 
front  line  and  mine  craters. 

SOME  MEMBERS  OF  THE  ALLIED  PRESS  CAMP,  WITH  THEIR 
PRESS  OFFICERS 

DIEPPE 

THE  BUTTE  DE  WARLENCOURT 

GERMAN  SICK,  CAPTURED  AT  MESSINES 

SOLDIERS  AND  PEASANTS,  CASSEL 

A GRAVE  IN  A TRENCH 

A VILLAGE:  EVENING 

THE  MAIN  STREET,  THIEPVAL 

MAJOR  J.  B.  McCUDDEN,  V.C.,  D.S.O.,  M.C.,  M.M. 

After  a brilliant  career  in  the  air  was  accidentally  killed  in  France,  in  July 
1918.  He  was  the  most  decorated  member  of  the  Royal  Air  Force,  received 
the  Military  Medal  when  a Flight  Sergeant  and  the  Victoria  Cross  when  a 
Second  Lieutenant.  Accounted  for  54  enemy  aeroplanes. 

THE  GIRLS’  COLLEGE,  PERONNE 

ADAM  AND  EVE  AT  PERONNE 

MAJOR-GENERAL  THE  RT.  HON.  J.E.B.  SEELY,  C.B.,  C.M.G., 
D.S.O.,  M.P. 

Secretary  of  State  for  War,  1912-14.  After  a period  of  active  service  in 
France  became  Deputy  Minister  of  Munitions,  1918. 


A SUPPORT  TRENCH 


156  THE  THINKER  ON  THE  BUTTE  DE  WARLENCOURT 

157  A DEATH  AMONG  THE  WOUNDED  IN  THE  SNOW 

158  WARWICKS  ENTERING  PERONNE,  MARCH,  1917 

159  A MAN  THINKING 

160  FIELD-MARSHAL  SIR  DOUGLAS  HAIG,  K.T.,  G.C.B.,  G.C.V.O., 

K.C.I.E.,  A.D.C. 

When  the  British  Expeditionary  Force  crossed  the  Channel  in  August  1914, 
Sir  Douglas  Haig  was  at  the  head  of  the  First  Army  Corps.  In  the  stirring 
events  of  the  succeeding  weeks  and  months,  his  tactics  and  fighting  abilities 
were  shown  on  many  occasions.  Succeeded  Sir  John  French  as  Commander- 
in-Chief,  British  Armies  in  France,  December  1915. 

161  MAJOR-GENERAL  SIR  H.  M.  TRENCHARD,  K.C.B.,  D.S.O. 

On  outbreak  of  war  became  temporary  commandant  of  the  Military  Wing 
of  the  Royal  Flying  Corps,  Farnborough,  and  afterwards  was  in  command  of 
the  Flying  Corps  in  the  Field.  Was  appointed  Chief-of-Staff,  Royal  Air 
Force,  early  in  1918  and  late  in  the  year  became  head  of  the  Independent 
Air  Force,  operating  in  France. 

162  MANCHESTERS,  ARRAS 

163  CHRISTMAS  NIGHT,  CASSEL 

164  MAN  RESTING  NEAR  ARRAS 

Mont  St.  Eloi  on  left,  Vimy  Ridge  in  the  distance. 

165  TYPE  OF  CAPTURED  GERMAN 

166  THE  COURTYARD,  HOTEL  SAUVAGE,  CASSEL,  NORD 

167  MAJOR-GENERAL  H.  E.  BURSTALL,  C.B.,  C.M.G. 

General  Officer  Commanding  R.  A.  Canadian  Corps,  since  1915. 

168  THE  PAINTER 

169  BOMBING:  NIGHT 

170  HIGHLANDER  PASSING  A GRAVE 

171  AN  AIRMAN 

172  A HOUSE  AT  PERONNE 

173  THIEPVAL  WOOD 

174  BRIGADIER-GENERAL  H.  J.  ELLES,  C.B.,  D.S.O. 

Commander  of  the  British  Tanks  on  the  Western  Front.  Before  the  ad- 
vance on  Cambrai,  November  1917,  issued  the  signal,  “The  Tank  Corps 
expects  that  every  tank  will  do  its  damn’dest.’’ 


175 

176 

177 

178 

179 

180 

181 

182 

183 

184 

185 

186 

187 

188 

189 

190 

191 

192 

193 

194 

195 

196 

197 


THE  SCHWABEN  REDOUBT 


THE  BIG  CRATER,  No.  2 

M.  DE  MARATRAY:  A FRENCH  WAR  CORRESPONDENT 

THE  MASCOT  OF  THE  COLDSTREAM  GUARDS 

A BRITISH  AIRMAN:  LIEUT.  A.  P.  F.  RHYS  DAVIDS,  D.S.O.,  M.C. 
“A  magnificent  fighter,  invariably  attacking  regardless  of  numbers.” 
Crossed  lines  on  offensive  patrols  on  56  occasions.  Accounted  for  22  enemy 
aeroplanes,  including  the  crack  German  pilots,  Schafer  and  Voss.  Captain 
of  Eton,  1915-16.  When  last  seen,  was  fighting  two  German  machines. 

THE  REFUGEE  (B) 

GERMAN  WIRE,  THIEPVAL 

MAJOR  F.  E.  HOTBLACK,  D.S.O.,  M.C. 

ADAM  AND  EVE  AT  PERONNE  (Sketch) 

GERMAN  PRISONERS  BY  THE  ROADSIDE 

HORSES  NEAR  AUBIGNY 

WOUNDED  IN  THE  CHEST  1 

THE  BAPAUME  ROAD 

ROYAL  IRISH  FUSILIER 

THE  ROAD  TO  ARRAS 

Mont  St.  Eloi  and  Vimy  Ridge  in  distance. 

CAMP,  TINCQUES 

FIVE  GERMAN  PRISONERS 

STUDY  OF  A SOLDIER 

TWO  R.  F.  C.’s  JUST  WOUNDED 

They  are  having  breakfast  at  the  hotel  before  going  to  the  hospital. 
PREPARING  TO  PRESENT  ARMS 


K.O.S.B. 

R.A.M.C.  STRETCHER  BEARER 
GREVILLERS:  RETURN  OF  THE  PEASANTS 


198  WOUNDED  AT  MONTAUBAN 

199  ALBERT 

200  CAPTURED  GERMAN  MUNITION  DUMP 

201  AFTER  A FIGHT 

202  SOUTH  IRISH  HORSE 

203  GENERAL  BIRDWOOD  RETURNING  TO  HIS  HEADQUARTERS 
Known  as  “The  Soul  of  Anzac”  for  his  great  services  with  the  Australian 
and  New  Zealand  Army  Corps  in  the  Dardanelles  Expedition.  The  Anzac 
record  in  France  has  been  ecpial  to  that  at  Gallipoli  and  Sir  William  Bird- 
wood  has  gained  new  laurels. 

204  ENTRANCE  TO  A DUG-OUT,  BEAUMONT  HAMEL 

205  MAN  IN  A TRENCH 

206  THE  RETURN  OF  A PATROL 

207  HEAVY  GUN,  NEAR  ARRAS 

208  IRON  CROSS 

209  CHURCH,  PERONNE 

210  TANKS 

211  MONT  ST.  ELOI 

212  THE  GAS  MASK 

213  PERONNE 

214  GERMAN  OBSERVATION  TREE 

215  MONTAUBAN  WOOD  WITH  GRAVES 

216  MEN  IN  THE  TRENCHES,  NEAR  HENDICOURT 

217  THE  GREAT  CAMOUFLAGE,  COMBLES 

218  GERMAN  SICK,  CAPTURED  AT  MESSINES,  IN  A CANADIAN 

HOSPITAL 

219  K.O.S.B.  FAGGED 

220  A GRENADIER  GUARDSMAN 

221  PORTRAIT  OF  AN  AIRMAN 


222  MARSHAL  FOCH 

Generalissimo  of  the  Allied  Forces  on  the  Western  Front  since  April,  1918. 
An  incomparable  military  strategist  whose  leadership  has  been  unfailingly 
successful  throughout  the  war. 


223  GENERAL  SIR  HENRY  S.  RAWLINSON,  BART.,  G.C.V.O.,  K.C.B., 
K.C.M.G. 

In  the  early  stages  of  the  war  he  commanded  forces  operating  near  Ghent 
and  Antwerp,  the  odds  against  the  British  troops  being  eight  to  one.  In 
1916  was  appointed  to  the  Command  of  the  New  Fourth  Army.  In  Feb- 
ruary 1918,  became  British  Military  Representative  on  the  Allied  War 
Council  at  Versailles.  Took  a leading  part  in  the  Allied  advance  1918. 


224  THE  FIRST  C.C.,  Q.M.A.A.C.  IN  FRANCE 

Portrait  of  Mrs.  G wynne- Vaughan,  C.B.E.,  I). Sc.,  when  Chief  Controller 
of  Queen  Mary’s  Army  Auxiliary  Corps,  Overseas,  popularly  known  as  the 
W.A.A.C.’s.  Later  Commandant  of  the  Women’s  Royal  Air  Force. 


225  BRITISH  AND  FRENCH  A.P.M.’s 

Captain  R.  Maude,  who  was  awarded  the  Croix  de  Guerre  by  the  French 
authorities,  and  Colonel  du  Tiel  in  their  cellar  in  Amiens. 


PRYSE,  G.  SPENCER 

Member  of  the  International  Society  of  Sculptors,  Painters, 
and  Gravers.  Is  a Captain  in  the  British  Army  and  has 
won  the  Military  Cross. 

226  BELGIUM,  1914.  FUGITIVES 

A family  group  in  despair  at  the  apparently  hopeless  situation.  Compare 
this  with  Mr.  Nevinson’s  treatment  of  the  same  theme. 


227  REFUGEES:  THE  LAST  VIEW  OF  BELGIUM,  1914 

When  Belgium  was  invaded  by  Germany  a flood  of  refugees  poured  into 
England.  In  one  day  10,000  arrived  and  were  scattered  through  the  country 
to  places  where  hospitality  had  been  offered. 

228  INTERIOR  OF  A COUNTRY  HOUSE  NEAR  EPERNAY 
Rough  and  ready  medical  aid  in  the  early  days  of  the  war. 

229  DRESSING  STATION,  FORET  VILLERS-COTTERETS,  SEPTEM- 

BER 1914 

The  resourcefulness  of  surgeons  in  the  war  has  been  extraordinary;  especially 
was  this  so  in  the  early  days  when  the  pressure  was  intense. 


230  BRITISH  ARTILLERY  LEAVING  RAILHEAD,  OCTOBER  1914 
• It  was  not  for  some  time  after  the  outbreak  of  war  that  news  was  received 
of  the  British  Expeditionary  Force.  For  military  reasons  the  departure 
from  England  and  the  arrival  in  France  were  kept  a profound  secret. 


ROBERTS,  WILLIAM  P. 

Member  of  the  London  Group,  and  exponent  of  Vorticism. 
Studied  for  three  years  at  the  Slade  School  of  Art,  London. 
Influenced  by  work  of  modern  French  artists  and  Italian 
Futurist  painters.  Joined  the  Vorticists  as  an  exponent  of 
the  new  art.  In  March  1916  became  a Gunner  in  the 
Royal  Field  Artillery  and  served  in  France. 

231  SIGNALLERS 

In  advance  or  retreat  much  depends  on  the  work  of  the  signallers.  The 
artist  suggests  no  little  movement  and  character  in  this  sketch. 

232  THE  GAS  CHAMBER 

It  was  in  April  1915  that  the  presence  of  gas  was  detected  in  enemy  shells. 
This  form  of  attack  was  later  developed  by  the  Germans  to  such  an  extent 
that  the  Allies  were  forced  to  respond  in  self-defence. 

233  THE  MENIN  ROAD 

From  the  First  Battle  of  Ypres  1914,  to  the  last  German  attempt  to  take 
the  Channel  Ports  in  March  and  April  1918,  the  Menin  Road  was  the  scene 
of  severe  fighting. 


ROTIIENSTEIN,  WILLIAM 

Member  of  the  New  English  Art  Club.  Painter  of  portraits, 
figure  subjects,  and  landscapes.  Etcher  and  lithographer. 
Visited  France  as  an  artist  in  1918  and  produced  a series 
of  paintings  and  drawings  the  subjects  being  chiefly  on 
the  Peronne  Front. 

234  AVENUE  AT  CHAULNES 

Chaulnes  was  retaken  by  the  French,  August  1918.  Here  were  two  German 
concrete  machine  gun  emplacements  in  which  guns  were  brought  up  and 
down  by  lifts. 

235  THE  CHURCH  AT  MONS-EN-CHAUSSEE 

In  the  parish  cemetery  graves  were  opened  and  coffins  exhumed  by  the 
Germans  in  order  that  the  lead  might  be  removed. 


[52] 


236  THE  CHURCH  AT  PERTAIN 

One  of  the  many  ruins  in  a battle-scarred  land.  The  artist  has  admirably 
caught  the  spirit  of  the  scene  in  this  and  similar  sketches. 

237  FRESNES 

Fresnes  was  made  untenable  for  the  Germans  in  November  1916.  It  was 
overrun  early  in  1918  and  was  regained  later  in  the  year. 


RUSHBURY,  HENRY 

Member  of  the  New  English  Art  Club.  During  the  war 
served  in  the  East  Surrey  Regiment,  Monmouthshire 
Regiment,  and  Royal  Air  Force. 

238  WESTMINSTER  ABBEY:  THE  WOLFE  MONUMENT 

“Westminster  Abbey,”  said  Mr.  Choate  in  1915,  “is  the  Mecca  to  which 
the  steps  of  all  Americans  who  visit  Great  Britain  for  the  first  time  always 
directly  turn.”  Here  is  seen  the  Wolfe  Monument,  ablaze  with  the  colours 
of  the  Canadian  Battalions. 


SCHWABE,  RANDOLPH 

One  of  the  younger  men.  Member  of  the  New  English  Art 
Club.  Paints  and  draws  in  a rather  broad,  archaic  style. 

239  THATCHING  FLAX  FOR  AEROPLANES 

At  work  in  a flax  camp.  The  flax  industry  in  Great  Britain  has  been 
revived  for  the  special  necessities  of  aeroplane  manufacture. 

240  CROSS  CUTTING 

Tree  felling  and  cutting  by  the  Women’s  Land  Army.  No  praise  can  be 
too  high  for  the  war  work  done  by  the  women  of  Britain. 


VERPILLEUX,  E.  A. 

Captain  in  the  Royal  Air  Force.  Has  devoted  himself  to 
landscape  and  also  to  wood  engraving  with  free  use  of  tint. 

241  SEARCHLIGHTS,  TRAFALGAR  SQUARE 

Since  August  4,  1914,  Trafalgar  Square  has  mirrored  the  events  of  the  day. 
Around  the  Nelson  column  have  been  held  innumerable  recruiting,  war- 
savings,  and  other  meetings.  The  searchlights  are  tested  every  night. 


INDEX  OF  ARTISTS 


Adeney,  W.  B 31 

Bentley,  Alfred 31 

Bone,  Muiriiead 10,  19,  22,  23,  31,  32,  33,  34,  61,  63,  65 

Brangwyn,  Frank  18,  23,  34,  67 

Clausen,  George 10,  19,  23,  34,  35,  69,  71,  73 

Epstein,  Jacob  ’ 35 

Everett,  John 23,  35,  36,  75,  77 

Gill,  Colin  W 36,  79 

Holmes,  C.  J 27,  36 

John,  Augustus 10,  19,  23,  37,  81 

Kennington,  Eric  H 23,  37,  83 

Lavery,  Sir  John 10,  19,  23,  37,  38,  85 

Lewis,  Wyndham 27,  38,  87,  89 

McBey,  James 10,  19,  23,  38,  39,  40,  41,  91,  93,  95,  97 

Meninsky,  Bernard 41,  99 

Nash,  John 42,  101,  103,  105,  107 

Nash,  Paul  . . 10,  26,  42,  43,  44,  109,  111,  113,  115,  117,  119,  121 

Nevinson,  C.  R.  W.  . 10,  25,  26,  44,  45,  46,  123,  125,  127,  129,  131,  133, 

[135,  137 

Orpen,  Sir  William  . 2,  7,  10,  15,  19,  21,  22,  23,  29,  46-51,  139,  141,  143, 

[145,  147,  149 

Pryse,  G.  Spencer 10,  18,  51,  52,  151,  153 

Roberts,  William  P.  27,  52,  155,  157 

Rotiienstein,  William 27,  52,  53 

Rusiibury,  Henry 53 

Schwabe,  Randolph 53 

Verpilleux,  E.  A. 


53, 159 


LIST  OF  ILLUSTRATIONS 


FRONTISPIECE  IN  COLOUR 


Field-Marshal  Sir  Douglas  IIaig,  K.T.,  G.C.B.,  G.C.V.O.,  K.C.I.E.,  A.D.C. 

By  Sir  William  Orpen 

PLATES  IN  HALFTONE 


Marshal  Foch.  By  Sir  William  Orpen 

A Grenadier  Guardsman.  By  Sir  William  Orpen 

A British  Airman.  By  Sir  William  Orpen 

A British  Tank.  By  Muirhead  Bone 

H.  M.  S.  Vindictive  after  Zeebrugge.  By  Muirhead  Bone 
Repairing  a Torpedoed  Ship.  By  Muirhead  Bone  . 

The  Gun.  By  Frank  Brangwyn  

Renaissance.  By  George  Clausen 

The  Furnace.  By  George  Clausen 

The  Great  Hammer.  By  George  Clausen 

Discharging  Flour,  Port  of  London.  By  John  Everett 
Converting  a Cunarder  into  a Cruiser.  By  John  Everett 

The  Captive.  By  Colin  W.  Gill  

Fraternity.  By  Augustus  John  

In  the  Front  Line  Trench.  By  Eric  H.  Kennington 
A London  Drawing-room,  Wartime.  By  Sir  John  Lavery 
A Siege  Battery  Pulling  in.  By  Wyndham  Lewis  . 

The  Attack.  By  Wyndham  Lewis 

Entry  of  the  Allies  into  Jerusalem.  By  James  McBey 

Bacteria.  By  James  McBey 

Camel  Corps,  Night  March.  By  James  McBey 

The  First  Tractor  in  Jerusalem.  By  James  McBey 
The  Platform  Canteen,  Victoria  Station.  By  Bernard  Meninsky  . 
Bridge  Over  the  Arras-Lens  Railway.  By  John  Nash 
A French  Highway.  By  John  Nash  


15 

29 

61 

63 

65 

67 

69 

71 


73 


77 


79 


81 


83 


85 


87 


89 


91 


93 


95 

97 

99 

101 

103 


LIST  OF  ILLUSTRATIONS 

[ Conti n u ed] 


Stand  to  Before  Dawn.  By  John  Nash  105 

Advance  Post,  Day.  By  John  Nash  107 

The  Mule  Track.  By  Paul  Nash 109 

The  Field  of  Passchendaele.  By  Paul  Nash Ill 

Howitzer  Firing.  By  Paul  Nash 113 

Spring  in  the  Trenches.  By  Paul  Nash 115 

Night  in  the  Ypres  Salient.  By  Paul  Nash 117 

German  Front  Line,  Gheluvelt  Village.  By  Paul  Nash  . . 119 

Nightfall,  Zillebeeke  District.  By  Paul  Nash  ....  121 

French  Troops,  Dawn,  1914.  By  C.  R.  W.  Nevinson  . . . 123 

Belgian  Refugees,  1914.  By  C.  R.  W.  Nevinson  ....  125 

Making  the  Engine.  By  C.  R.  W.  Nevinson 127 

Banking  at  Four  Thousand  Feet.  By  C.  R.  W.  Nevinson  . . 129 

Looking  Down  on  a Bombarded  Town.  By  C.  R.  W.  Nevinson  . 131 

Flanders  from  the  Clouds.  By  C.  R.  W.  Nevinson  . . . 133 

Bursting  Shell.  By  C.  R.  W.  Nevinson 135 

French  Troops  Resting.  By  C.  R.  W.  Nevinson  ....  137 

Some  Members  of  the  Allied  Press  Camp.  By  Sir  William  Orpen  139 
Two  R.F.C.’s  Just  Wounded.  By  Sir  William  Orpen  . . . 141 

A Village:  Evening.  By  Sir  William  Orpen  143 

German  Gunners’  Shelter.  By  Sir  William  Orpen  ....  145 

Bombing:  Night.  By  Sir  William  Orpen 147 

Dead  Germans  in  a Trench.  By  Sir  William  Orpen  . . . 149 

British  Artillery  Leaving  Railhead,  1914.  By  G.  Spencer  Pryse  . 151 

A Dressing  Station,  1914.  By  G.  Spencer  Pryse 153 

Signallers.  By  William  P.  Roberts 155 

The  Gas  Chamber.  By  William  P.  Roberts 157 

Searchlights,  Trafalgar  Square.  By  E.  A.  Verpilleux  . 159 


[56] 


ILLUSTRATIONS 


MUIRHEAD  BONE 
A BRITISH  TANK 


[61] 


/ 


[63] 


MUIRHEAD  BONE 
H.  M.  S.  VINDICTIVE 
AFTER  ZEEBRUGGE 


\ 


Copyright , 1919,  by  the  British  Bureau  of  Information 


[65] 


MUIRHEAD  BONE 
REPAIRING  A TORPEDOED  SHIP 


[67] 


FRANK  BRANGWYN 
THE  GUN 


[69] 


GEORGE  CLAUSEN 
RENAISSANCE 


J 


, 


I 


[71] 


GEORGE  CLAUSEN 
THE  FURNACE 


[73] 


GEORGE  CLAUSEN 
THE  GREAT  HAMMER 


JOHN  EVERETT 
DISCHARGING  FLOUR, 
PORT  OF  LONDON 


[75] 


[77] 


JOHN  EVERETT 
CONVERTING  A CUNARDER 
INTO  A CRUISER 


[79] 


COLIN  W.  GILL 
THE  CAPTIVE 


Copyright,  1919,  by  the  British  Bureau  of  Information 


[81] 


AUGUSTUS  JOHN 
FRATERNITY 


[83] 


ERIC  II.  KENN ING TON 
IN  THE  FRONT  LINE  TRENCH 


[85] 


SIR  JOHN  LA  VERY 
A LONDON  DRAWING-ROOM, 
WARTIME 


( 


'l 


[87] 


WYNDHAM  LEWIS 
A SIEGE  BATTERY 
PULLING  IN 


$ 


I 


WYNDHAM  LEWIS 
THE  ATTACK 


[89] 


m i 


[91] 


JAMES  McBEY 
ENTRY  OF  THE  ALLIES 
INTO  JERUSALEM 


[93] 


JAMES  McBEY 
BACTERIA 


[95] 


JAMES  McBEY 
CAMEL  CORPS,  NIGHT 
MARCH 


JAMES  McBEY 
THE  FIRST  TRACTOR 
IN  JERUSALEM 


[97] 


) 


> 


[99] 


BERNARD  MEN IX SKY 
PLAT  FORM  CANTE  EN, 
VICTORIA  STATION 


[101  J 


JOHN  NASH 

BRIDGE  OVER  ARRAS-LENS 
RAILWAY 


I 


JOHN  NASH 
A FRENC  H HIGHWAY 


[ 103  ] 


[105] 


JOHN  NASH 
STAND  TO  BEFORE 
DAWN 


JOHN  NASII 
ADVANCE  l’OST,  DAY 


[ 107  | 


\ 


[ 109  ] 


PAUL  NASH 
THE  MULE  TRACK 


PAUL  NASH 
THE  FIELD  OF 
PASSCH  ENDAELE 


[HI] 


PAUL  NASH 
HOWITZER  FIRING 


[ 113] 


[11.5 


PAUL  NASH 

SPRING  IN  THE  TRENCHES 


[ 117  1 


PAI  L NASH 

NIGHT  IN  THE  YPRES 

SALIENT 


PAI  L N ASH 
GERMAN  FRONT  LINE, 
GHELUYELT  VILLAGE 


119  ] 


PAUL  NASH 

NIGHTFALL,  XI LLEBEEKE 
DISTRICT 


[ 121  ] 


C.  R.  \Y.  NE VINSON 
FRENCH  TROOPS, 
DAWN,  1914 


[ 123  ] 


C.  R.  \V.  NE  VINSON 
BELGIAN  REFUGEES,  1914 


[ 125] 


C.  R.  W . NEVINSON 
MAKING  THE  ENGINE 


[127 


[ 129  ] 


C.  R.  W.  NEVINSON 
BANKING  AT  FOUR 
THOUSAND  FEET 


3 


/ 


:v 


/ 


[ 131  ] 


C.  R.  W.  NEVINSON 
LOOKING  DOWN  ON 
A BOMBARDED  TOWN 


I 


I 


[133] 


C.  R.  \V.  NEVINSON 
FLANDERS  FROM  THE  CLOUDS 


• • » 


C.  R.  W.  NEVINSON 
BURSTING  SHELL 


[135] 


I 


C.  R.  W.  NE VINSON 


137 


FRENCH  TROOPS  RESTIN' ( 


"Vs* 


SIR  WILLIAM  ORPEN 
SOME  MEMBERS  OF  THE 
ALLIED  PRESS  CAMP 


[139] 


1 


[141] 


SIR  WILLIAM  OR  PEN 

TWO  R.  F.  C.’S,  JUST  WOUNDED 

HAVING  BREAKFAST 


[143] 


SIR  WILLIAM  ORPEN 
A VILLAGE:  EVENING 


[ 145] 


SIR  WILLIAM  ORPEN 
GERMAN  GUNNERS’  SHELTER 


SIR  WILLIAM  ORPEN 
BOMBING:  NIGHT 


[147] 


/ 


[ 149] 


SIR  WILLIAM  ORPEN 

DEAD  GERMANS  IN  A TRENCH 


4 


G.  SPENCER  PRYSE 
BRITISH  ARTILLERY  LEAVING 
RAILHEAD,  1914 


[ 151] 


I 


G.  SPENCER  PRYSE 
A DRESSING  STATION,  1914 


[ 153  ] 


it 


I 


WILLIAM  P.  ROBERTS 
SIGNALLERS 


[ 155] 


I 


[157] 


WILLIAM  P.  ROBERTS 
THE  GAS  CHAMBER 


E.  A.  VERPILLEUX 
SEARCHLIGHTS, 
TRAFALGAR  SQUARE 


[1.59] 


o r 


GETTY  CENTER  LIBRARY 


3 3125  00762  3008 


